Of the large number of important works he executed in Venice, Milan, Pavia, Turin, and other towns of Upper Italy, we shall not attempt a catalogue, nor of his many frescoes in the Roman palaces and churches. We cannot, however, pass by an altar-picture still in the Church of Sta. Caterina in his native town, which was carried to Paris by the French plunderers. It represents Peter, Francis, and other saints, presenting to the Madonna the Zuccaro family, consisting of two men, a woman, and seven children--probably Taddeo, himself, his wife and offspring; and it is inscribed "Federigo Zuccaro dedicates this monument of his affection to the intercessors of his family and birthplace, 1603." Besides the interest attaching to the portraits, it is a satisfactory specimen of his usual manner. A work of his brother, connected with the history of the duchy, has been described in a previous volume.[223] [Footnote 223: Vol. II.] Academical instruction is considered as favourable only to mediocrity by many who maintain that genius must be cramped by the fetters of uncongenial routine, or by the prescribed duties of a conventional curriculum. The Academy of St. Luke was, however, founded under Gregory XIII., and Federigo Zuccaro was, in 1593, elected its first president, an honour appreciated far beyond the favour of princes or the decoration of knighthood. After inauguration, he was conducted by a crowd of artists to the palace he had built for himself on the Pincian Hill, at that corner otherwise consecrated by the residences of Claude, Salvator Rosa, and Nicolò Poussin. Here he afterwards held meetings of the Academy, where he read his discourses; and by will he left to it that house, failing of his natural heirs. His death occurred in 1608, at Ancona, at the age of sixty-six; but the clause of remainder in favour of the Academy has never become effectual, the palace in the Via Sistina being still possessed by his descendants. It is well known as the Casa Bertoldy, and may be regarded as the cradle of the modern German school of painting. The frescoes on which Overbeck, Cornelius, Schnorr, and Veit first essayed that elevated and pure style which has regenerated European taste, there attract many an admirer, little aware that the basement rooms, abandoned to menial uses, contain some of the latest efforts of cinque-cento decoration that have fair pretensions to merit. The richest of them has its vaulted roof studded with allegorical delineations of the arts, sciences, and virtues, painting being justly pre-eminent in a painter's house. The lunettes of another are crowded by portraits of the Zuccari, extending over four generations, and numbering twenty-one heads, true to nature. The third, which was Federigo's nuptial chamber, exhibits the ceremony of his marriage, around which are figures of Chastity, Continence, Concord, and Felicity, in the fashion of an age when genius had been replaced by ingenuity, grandeur by dexterous execution.